The nine screens in the Museum lobby are the initial entry points to the transitional experience produced by the Museum, which one could call a “non-event”—a preamble to the main visual consumption. This liminal trajectory incorporates the programmed infographics, the public architectural spaces, and the anticipating visitors in our sight lines. The “non-event” sets up an atmosphere of expectation in transit, through which our screen-conditioned, lifestyle-oriented, transient gazes turns us into unmitigated imitations of each other, not unlike the walk on airport walkways or the movement through vertical mall escalators.

Misty Harbor – at your leisure focuses on the non-event as a dramaturgical component of the Museum visit. This experiential border serves a similar function to that of an interface, which attempts to determine, or at best guide, our use of the actual content. An interface alleviates the operative connections to the desired content, and indicates how we are enabled, allowed, or made to use it. The logic of interfaces are designed as naturalized givens. It is also the point where person-to-person fantasies of reality intersect.

Misty Harbor – at your leisure resides in the nine information frames. Shot by Arthur Jafa with assistance by Morgan Jones, and featuring Dineo Bopape, Shadi Habib Allah, Murat Mumtaz and Kayode Ojo in front of the lens, the piece takes on the nature of the site, and interlaces repeated and distilled rainbow-colored MoMA graphics with fractured Museum spaces, populated by idealized global visitors. A reprogrammed, disorienting, any-kind-of space for any-kind-of ogling: Misty Harbor – at your leisure.